The article examines the implications of the 2024 U.S. presidential race between Kamala Harris and Donald Trump on press freedom, particularly for women and LGBTQI+ journalists. It highlights Harris's commitment to press protections and transparency, contrasting it with Trump's history of hostility towards the media and the potential threat posed by Project 2025. The report underscores the surge in press freedom violations during Trump's presidency and the ongoing challenges under the Biden administration. It calls for the passage of the PRESS Act to protect journalists' communications and emphasizes the need for continued advocacy to safeguard press freedoms.

The Immigrant Council of Ireland has initiated a campaign in collaboration with the Irish Blood Transfusion Service to combat racism against the Polish community in Ireland. The campaign, named Bloody Foreigner, encourages Polish immigrants to donate blood as a way to showcase their positive impact on Irish society. Barnaba Dorda, a Polish lawyer residing in Ireland, is one of the participants who will be donating blood for the first time, inspired by the campaign's message. The initiative aims to introduce the campaign across Ireland in the upcoming weeks.

In Tirana, Albania, religious tolerance is exemplified by the peaceful coexistence of Muslims, Catholics, Orthodox Christians, and other faiths. Despite a history of religious persecution under Enver Hoxha's communist regime, Albania has emerged as a model of interfaith harmony. Religious leaders and communities actively promote unity and counter extremism, with significant support from international bodies like the United Nations and the US Embassy. Challenges remain, such as the restitution of religious properties, but grassroots interfaith initiatives continue to foster mutual respect and understanding.

The article discusses an exhibition at Tirana's National Art Gallery showcasing Albanian film posters, titled 'The Art of Albanian Motion Picture Design.' Curated by Thomas Logoreci, the exhibit features posters from Albania's first film in 1944 to contemporary works, highlighting the country's cinematic history and the unique artistry of hand-crafted posters. The article touches on Albania's communist past, where cinema was used for propaganda, and the personal connection of Logoreci, whose father fled Albania's regime. It also addresses the challenges of preserving Albanian film heritage, as Logoreci is part of the Albanian Cinema Project, which aims to protect deteriorating film reels from being lost to mould and other damage. The exhibition serves as a reminder of the importance of preserving both the physical and cultural aspects of film history.